A Ridiculous Space: Considering the Historiography of the Theatre of the Ridiculous

  • Kelly Aliano

Abstract

How do we write the history of work that has consistently been elided from the writing of history? Can we simply reinsert it into the progressive narrative of the development of drama or is it necessary to carve out a specific location in which this work may reside, reconstructing the historical landscape in which it was once performed? How can we create a theoretical framework for studying these productions, and how can that operate as a “space” in which these theatre pieces can finally live?

Keywords

Queer Theatre Real Place Time Bind Historical Landscape Real Site 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Bibliography

  1. Bottoms, Stephen J. Playing Underground: A Critical History of the 1960s Off-Off-Broadway Movement. Ann Arbor: University of Michigan Press, 2004.CrossRefGoogle Scholar
  2. Brecht, Stefan. Queer Theatre. Germany: Suhrkampf, 1978.Google Scholar
  3. Comenas, Gary. “Conquest of the Ridiculous: Ronald Tavel, John Vaccaro and Charles Ludlam.” 2008, revised 2009. http://www.warholstars.org/ridiculous.html.Google Scholar
  4. Foucault, Michel. “Of Other Spaces: Utopias and Heterotopias.” In Architecture/Mouvement/Continuité (1984). Originally presented in French as “Des Espace Autres” in March 1967. Translated by Jay Miskowiec in Diacritics 16, no. 1 (Spring, 1986): 22–27.Google Scholar
  5. Freeman, Elizabeth. Time Binds: Queer Temporalities, Queer Histories. Durham, NC: Duke University Press, 2010.CrossRefGoogle Scholar
  6. Goldberg, Roselee. “Art after Hours: Downtown Performance.” In The Downtown Book: The New York Art Scene, 1974–1984. Edited by Marvin J. Taylor. New York: Grey Art Gallery and Study Center, Fales Library, 2006.Google Scholar
  7. Halberstam, Jack. In a Queer Time and Place. New York: New York University Press, 2005.Google Scholar
  8. —. The Queer Art of Failure. Durham, NC: Duke University Press, 2011.CrossRefGoogle Scholar
  9. Isaac, Dan. “Ronald Tavel: Ridiculous Playwright.” TDR 13, no. 1 (Autumn 1968), 106–15.Google Scholar
  10. Jeffreys, Joe E. “An Outre Entrée into the Para-Ridiculous Histrionics of Drag Diva Ethyl Eichelberger.” PhD diss., New York University, 1996.Google Scholar
  11. Ludlam, Charles. Ridiculous Theatre: Scourge of Human Folly. Edited by Steven Samuels. New York: Theatre Communications Group, 1992.Google Scholar
  12. Marranca, Bonnie. “Introduction.” In Theatre of the Ridiculous. Edited by Bonnie Marranca and Gautum Dasgupta. New York: Performing Arts Journal, 1979.Google Scholar
  13. Mills, Robert. “Queer Is Here? Lesbian, Gay, Bisexual, and Transgender Histories and Public Culture.” History Workshop Journal, no. 62 (Autumn 2006): 253–63.Google Scholar
  14. Muñoz, José. Cruising Utopia: The Then and There of Queer Futurity. New York: New York University Press, 2009.Google Scholar
  15. PS 1 Archives, I. A. 2086. The Museum of Modern Art, New York.Google Scholar
  16. Tavel, Ronald. The Life of Lady Godiva. In The Theatre of the Ridiculous. Edited by Bonnie Marranca and Gautum Dasgupta. New York: Performing Arts Journal, 1979.Google Scholar
  17. —. “Maria Montez: Anima of an Antediluvian World.” In Flaming Creature: Jack Smith, His Amazing Life and Times. Edited by Edward Leffingwell. New York: Serpent’s Tail, 1997.Google Scholar

Copyright information

© Rosemarie K. Bank and Michal Kobialka 2015

Authors and Affiliations

  • Kelly Aliano

There are no affiliations available

Personalised recommendations